Staging Second Life in Real and Virtual Spaces - Teaching through Multi-User Virtual Environments - page 231

Research and teaching go hand-in hand and
we find it an exciting way of working for tutors,
technicians and students alike (cited in Kattenbelt,
2007, p. 10).

Sermon, P. (2007). Liberate Your Avatar. Retrieved
June 08, 2009, from http://creativetechnology.
salford.ac.uk/paulsermon/liberate/

Wyeld, T. G., Prasolova-Førland, E., & Viller, S.
(2007, 4-9 March). Theatrical place in a 3D CVE.
Paper presented at the Computing in the Global
Information Technology conference, 2007. ICCGI
2007, Brisbane, QLD.

ReFeReNCeS

Auslander, P. (1999). Liveness: Performance in a
mediatized culture . London: Routledge.

eNDNOTeS

Bigger, S. (2009). Learn, live, thrive: Victor
Turner, social process and performance. Retrieved
January 13, 2010, from http://learnlivethrive.
blogspot.com/2009/03/victor-turner-social-
process-and.html

1

The Hamlet production was performed by the
Second Life Shakespeare Company (SLSC)
in 2008 within a virtual reconstruction of
Shakespeare's Globe Theatre. See also http://
slshakespeare.com/pages/current Bolter, J. D., & Grusin, R. (1999). Remediation:

Understanding new media . Cambridge, MA: The
MIT Press.

2

ZeroG SkyDancers are created, produced and
directed by DC Spensley (AKA DanCoyote
in Second Life). See also http://www.dan-
coyote.com/?page_id=85

Boyer, E. (1990). Scholarship reconsidered: Priori-
ties of the professoriate. Princeton, N.J

3

http://creativetechnology.salford.ac.uk/
paulsermon/liberate/

Chapple, F., & Kattenbelt, C. (2006). Key issues
in intermediality in theatre and performance . In
Chapple, F., & Kattenbelt, C. (Eds.), Intermedi-
ality in Theatre and Performance (pp. 11-25).
Amsterdam: Rodopi.

4

http://creativetechnology.salford.ac.uk/
paulsermon/liberate/

5

The readings begin with the early integration
of film into theatre by Georges Méliès, move
to the current liveness debate and whether
theatrical presence has become absorbed by
digital presence and develops to newer forms
of thinking on this issue in the theories of
post-dramatic theatre and intermediality. The
readings also refer to industry approaches
to staging new technologies. The readings
include the following texts: Giesekam,
Greg 2007, 'Magic to Realism: European
Pioneers', in Staging the Screen , Chapter 1
pages 27-50; Auslander, Philip 1999 Live-
ness: Performance in a Mediatized culture,
Routledge, London; Carlson, Marvin 2003,
'Video and Stage Space: Some European
Perspectives', in Joanne Tompkins (editor)
Modern Drama (Special Issue: Space and

Giannachi, G. (2004). Virtual theatres: an intro-
duction . London, New York: Routledge.

Gibson, W. (1984). Neuromancer . New York: Ace
Books, Berkley Publishing Group.

Kattenbelt, C. (2006). Theatre as the art of the
performer and the stage of intermediality . In
Chapple, F., & Kattenbelt, C. (Eds.), Intermedi-
ality in Theatre and Performance (pp. 29-39).
Amsterdam: Rodopi.

Kattenbelt, C. (2007). Intermediality: a redefini-
tion of media and a resensibilization of perception.
Paper presented at the Intermediality: Performance
and Pedagogy conference, Sheffield University,
UK.